Brotherhood of Murder
Hate Is Thicker Than Blood
(1999 made for TV movie)
by Victor Wolzek
October 11, 2002
"Hate is thicker than blood" says the jew-spew tagline on the video
box.
And jewish bullshit is thicker than both, retorts reality.
Intro
Imagine: It's late 1983, early 1984. The place, America. Ronald Reagan
has just begun his second term as President. Prince, Boy George, and
the "heartland rockers" Bruce Springsteen, John Cougar Mellencamp, and
Tom Petty are in heavy rotation on FM radio stations across the
country. No sooner than we were finished mourning the death of Darth
Vadar in 1983's Return of the Jedi, we were laughing along with
newborn superstar Eddie Murphy in 1984's blockbuster, Beverly Hills
Cop. Though the cinematic transition from the Dark Lord to the
Grinning Groid may have been a coincidence, it's symbolic importance --
the very semblance of Aryan rule in America giving way to no holds
barred jew-led black aggrandizement and white replacement -- would not
have been lost on The Order Bruder Schweigen. While the rest of us were
at the movies laughing along with the jewish murder of America, they
were plotting to take their country back.
The Story
Robert Jay Mathews, a young, bright, and
charismatic working-class revolutionary, formed The Order Bruder
Schweigen (the "Silent Brotherhood"), a ballsy cadre of race conscious
whites who spit in the face of 80s Reagan-era yuppiedom and waged war
-- real war, with guns and bombs -- on ZOG. Their main objectives were
to combat the jew-instigated genocide of white Americans, and to secure
an Aryan bastion in the Pacific northwest. Within the span of one year,
they were alleged to have committed robberies in excess of four-million
dollars, assassinated leftist radio host jew Alan Berg, counterfeited
Federal Reserve Notes, and formed various counter-military training
cells.
In December of 1984, the battle came to a head. With information
supplied by the craven traitor Thomas Martinez, federal military forces
murdered Robert Mathews at a Bruder Schweigen safe house on Whidbey
Island, WA, and imprisoned the surviving members who remained true to
the Brotherhood.
The Book
Before getting to the movie, a bit of background on the book that
inspired it. Brotherhood of Murder was written by Bruder
Schweigen turncoat/FBI informant, Thomas Martinez, in 1988, four years
after Mathews wrote about him, in his last public letter to the Newport Miner,
the Pend-Oreille County newspaper that had printed many of his letters
in the past. Mathews wrote:
As for the traitor in Room 14
[Martinez], we will eventually find him. If it takes ten years and we
have to travel to the far ends of the earth we will find him. And true
to our oath when we do find him, we will remove his head from his body.
Unfortunately, the treason to be
avenged would
sooner lead to Mathews being surrounded and burned alive by the FBI. He
fought to the very end, dying with machine gun in hand. Embeddened in
his badly burned chest cavity was a piece of molten gold -- Mathews'
Bruder Schweigen medallion.
Martinez, on the other hand, lived not only to write his book, but to
betray everything he supposedly had always believed in, and to commit
an act almost as heinous and doubly as unimaginable as turning over for
the FBI: Sucking up to the ADL and Southern Poverty Law Center. In the
book's acknowledgments he writes these words:
Two organizations that have long
been courageous in battling bigotry...are the Anti-Defamation League of
B'nai B'rith and the Southern Poverty Law Center.... My best hope is
that my contribution in the fight against racist terrorism will, in
some small way, help theirs.
If that didn't empty you out,
this next passage is
sure to bring you to gut-wrenching dry heaves:
Morris Dees, the founder of the
SPLC and its inspirational force, has been an inspiration to me,
helping me define the meaning of the word courage.
There you have it. Pure
egomaniacal moronicism at
work. The same kind of psychological type we've witnessed more recently
in the defection of George Burdi. This "type" of
person must "feel good" about every thing he does. He lacks the
intelligence needed to fully understand his "beliefs," as well as the
fortitude to act in accordance with them long after the beliefs cease
being "cool" or financially, practically, or emotionally rewarding. The
inherent truth of one position over another is irrelevant; the value of
a position rests solely in its immediate effect on the individual. A
passionate desire for the "14 words," for example, is right and
virtuous and noble -- right up until johnny law puts you in the
slammer. Or threatens to. Then, all of the sudden, confession to the
media-forged moral majority and conversion to their state-approved way
of thinking becomes the right, virtuous, and noble thing to do.
True to form, Martinez does not acknowledge his cowardice and
fallibility. He does not humbly admit he rolled over on friends,
kinsmen, courageous white men, for the sole purpose of avoiding jail.
He does not confess that no matter how he feels about the particular
members of the Bruder Schweigen personally, their racial views and
grievances against the government are essentially true. And he does not
draw the obvious conclusion that the power and determination of ZOG to
crush the Bruder Schweigen underscores this very point. Rather,
Martinez is compelled suddenly to convince himself that all the jewish
caricatures of race-conscious whites are accurate: he was
"brain-washed" and "looking for an excuse" and "needing to feel
superior"; racism -- in whites -- is the product of "personal
insecurity" and "irrational hatred." The criminal
ADL and
alleged child molester Morris Dees are suddenly
paragons of virtue, fighting the good fight against -- not perpetuating
their own anti-white version of -- "racist terrorism." The grossly
disproportionate amount of black on white violence, coupled with the
ironic enforcement of hate laws almost exclusively against whites,
suddenly becomes irrelevant. The fact that jews opened America's
borders and loosed blacks, mexicans, and all forms of third world
non-whites on once safe, clean white cities suddenly is re-read as some
sort of "paranoid white delusion."
The back of the book jacket features two "authorative" quotes of praise
-- one by ADL chairman Abraham Foxman and one by SPLC founder Morris
Dees. Reflect for a moment and try to imagine yourself a year from now
writing a book that Foxman and Dees would praise and that you, in turn,
would use as a vehicle to champion them and their cause as
"courageous." Do you feel the shudder up your spine, or is it just me?
The Movie
Considering the source, there's little that needs mentioning about the
movie. For me, it is genuinely thrilling to see a dramatic depiction --
any depiction -- of the racist right in action. Whether it's Randy
Quaid in Ruby Ridge: An American Tragedy (1996), or Tom
Berenger in Betrayed (1988), I simply love hearing the words
"ZOG" and "jew" spit forth in derision from the lips of actors. The
Bruder Schweigen story is exceptionally fascinating in this regard,
packed as it is with action, adventure, and real American urban
guerrilla warfare. Aside from the inherent interest of the story
itself, there is nothing to recommend this film. Every aspect of it,
from casting, to direction, to its gross distortions of fact, set out
to smear Mathews and company as demented perverts, and their desire to
restore a white-controlled jew-free America as the culmination of this
demented perversion.
The casting of Peter Gallagher as Bob Mathews is telling. While Mathews
is universally described -- even by unsympathetic sources such as Flynn
and Gerhardt's The Silent Brotherhood (The Free Press, 1989) --
as "warmly charismatic," "genuine," "sincere," "passionate,"
"uncommonly generous" and "friendly," Gallagher is the actor of choice
to play distant, selfish, sinister, assholes. Whether it's in Sex,
Lies, and Videotape (1989) or American Beauty (1999), he's
the shallow, lying, flake too blinded by his own vanity to realize
everyone knows it but him. He comes off the same way here, as was no
doubt the plan. Leaving nothing to chance, however, Mathews'
sociopathic cruelty is hammered home with a series of fabricated smears:
The Order targets a porno
store for its first robbery, because they see it as a social lesion
resulting from the jewish disease; this much is true. As they rob it an
interracial porno plays on the monitor behind the cashier. After taking
the money, Mathews tells the clerk that they'll be back and he makes
clear that the clerk will be spared next time if "that garbage" is
playing when they return. In a scene shortly thereafter we see Mathews
alone in his apartment, with his gun in his hand, watching a big
mandingo buck hammer away at a pretty blonde girl from behind:
presumably Mathews couldn't help but steal himself some "forbidden
fruit" from the video racks during the robbery. The gun in his hand?
I'll leave the interpretation up to you.
Mathews and his racist brethren gather in a
diner. When the waitress asks what they'd like, Mathews orders apple
pie and a glass of milk for everyone; this was, indeed, his favorite
snack. One of the guys, Walter West, says that he cannot eat apple pie,
because it makes him sick. Faces all around the table stiffen. Mathews
is incredulous: "But it's all American!" The waitress offers to bring
him cherry pie instead and, like a good psychotic "neo-nutzi"
hate-monger, one of the men barks at her to "bring him apple pie and
milk like the man ordered!" The woman looks shattered by the verbal
assault. Martinez and West -- the two humans among the evil Nazi
animals -- are obviously uncomfortable, but are intimidated into
keeping quiet and going along with it. As the men all eat their pie,
West suddenly bolts from the table out the door where he's seen
vomiting in the parking lot through the window. Martinez gets up to
help West and one of the stone-faced Nazis sternly orders him to "sit
down!" Mathews, the cold sadist just smiles and gestures to Martinez to
take a seat.
Walter West is portrayed throughout the movie
as a decent white man loyal to his friends, his race, and his nation.
This makes it especially abhorrent when he is taken out to the woods
and murdered by two of his kinsmen (Richard Kemp and Randy Duey). While
in reality West was a chronic drunk with a habit of bragging about The
Order's activities to strangers, endangering the group and thereby the
future for white children they were trying to secure, in the movie his
murder is depicted as the result of cold blood and groundless paranoia.
During a picnic, Mathews humiliates his fat,
gap-toothed wife Debbie when, as she's shoveling food into her mouth,
he tells her, "Put that down. Have some respect for yourself, woman."
She looks like she's about to cry. Fortunately for the real Debbie
Mathews, she wasn't a cow and Bob was not known to berate her like that
for any personal flaws, not even for the bitter disappointment he felt
when he discovered she was barren.
Perhaps the grossest of all its lies is the
depiction of Mathews as a child molester. Yep, you read right: A child
molester, as if this were the Morris Dees story! In the movie Zillag
Craig is depicted as being an eleven or twelve year old girl. She's
shown to be an obsessive, almost zombie-like child who sits silently
reading her Bile for hours and hours. Presumably Bibical lobotomization
is what happens to children whose parents barbarically deprive them of
state innoculation against "hate" via public school and daily boob-tube
saturation. Anyway, except for the suggestion that Bob is dissatisfied
with his fat, gap-toothed wife Debbie, there's no explanation for why
Bob wants to sleep with Zillah, a child he is never even shown talking
to in the film. But all the sudden he pulls up to the Craig trailer,
greets Zillah's mother, Jean, at the door, asks if Zillah is there and
then if he has Jean's blessing. Jean stoically responds, "It's God's
will." Bob smiles, kisses her on the cheek, then enters the trailer,
pulling the door closed behind him. Jean walks off with a look of deep,
suppressed sadness on her face.
The truth of the matter is that Zillah Craig was a 27 year old mother
of two when Mathews met her. By Zillah's account, far from Mathews
being a lecherous ogre, he was shy, courteous, and gentlemanly. He was
slow to making sexual advances toward her; they even slept together
with their arms around each other a number of times without making
love. Though once they started, Zillah said Bob was the most vigorous,
attentive, and inventive lover she'd ever had (The Silent Brotherhood
pp. 119-122; 131). Bob was enthralled with Zillah's beauty, but he was
also moved by a desire to "pass on his seed." His wife Debbie was
barren. Though they adopted a baby boy, Clinton, whom Bob loved and
cared for, he knew his war on ZOG made his chances of being killed or
imprisoned great and he wanted a child of his own blood. He got his
wish. Zillah gave birth to a daughter, Emerant Mathews, in October of
1984. Two months later the proud new father would be burned to death on
Whidbey Island by the United States federal government.
The movie is strewn with all sorts of other distortions and outright
lies about the men and motivations behind The Order Bruder Schweigen.
About the only thing the film did right is to not apologize or
romanticize blacks as noble victims of racism. Though in the book,
Martinez spews more than his share of the ol' "there are good and bad
in all races" canard (as the jews would say), to suggest that black
hyper-violence is a figment the racist imagination, the movie does not
feature any "noble negroes." In fact, apart from the afro-sheened
ass-pounder in the black-on-blonde porno video, there are exactly two
scenes in which blacks are the focus. In one scene, two young homeboys
hassle and humiliate Martinez for being a janitor, as he mops a
hallway. They mock him for doing "slave work" and kick his mop bucket.
Desperately needing his job, Martinez sucks it up; he bites his lip
and, as they walk away laughing, he continues mopping. In the other
scene, probably the best scene in the film as far as acting goes,
Martinez encounters a black guy as he is going door to door
distributing white nationalist literature. The black guy is immediately
rude and combative. Martinez begins to shrink away. You can see he's
instinctually recoiling, about to apologize, when he catches himself,
and steels himself. A few brief seconds pass with Martinez looking at
the negro. He's not sure what to say, but you can see his bewilderment
quickly change to indignation. The negro, surprised that the silly
honkey hasn't already run away in fear, snaps, "You gotta problem?"
Martinez leans right into the negro's face and says, "Yeah. You bet I
do." He stares coldly into the brothaman's eyes then turns and leaves.
Cracker Boy flipped the script on Mr. Tough Guy Darkie, who, when
confronted with a situation requiring original thought and words, is as
stymied as, well... Stymie.
The Gist
A bad movie based on a worse book by a spineless stooge about an
utterly fascinating group of heroic men, most of whom are now either
dead or in jail.
Directed by Martin Bell (I)
Credited cast:
William Baldwin .... Tom Martinez
Peter Gallagher .... Bob Mathews
Kelly Lynch .... Susan Martinez
Writing credits:
Robert J. Avrech (screenplay)
Thomas Martinez (book) and John Guinther (book)
Victor Wolzek
Do you have a comment on this review? Send it to :
wolzek@hotmail.com
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